Udi Aloni, Elaine Angelopoulos, Eleanor Antin, Cory Arcangel, Ina Archer, Kenseth Armstead, Conrad Atkinson, Brandon Ballengeé, Guy Ben-Ner, Sanford Biggers, Chris Burden, Luca Buvoli, Nick Cave, Gordon Cheung, Sue Coe, Liz Cohen, Brody Condon, Keith Cottingham, Chris Doyle, eteam (Franziska Lamprecht & Hajoe Moderegger), Alessandra Exposito, Roy Ferdinand, Terry Fox, Yishay Garbasz, Rico Gatson, George Gittoes, Leon Golub, Brent Green, Jane Hammond, Kelly Heaton, Christine Hill, Shih-Chieh Huang, Junky Styling (Annika Sanders & Kerry
Seager), Peggy Jarrell Kaplan, Suzanne Lacy, Deborah Lawrence, Ja Rhim Lee, Ellen Levy, Jane Marsching, Jennifer & Kevin McCoy, David McDevitt, Lori Nix, David Opdyke, Pepón Osorio, Sarah H. Paulson, Frank Perrin, William Pope L, Erika Roth, Christy Rupp, Jason Salavon, Alan Scarritt, Dread Scott, Andrew Sendor, Marie Sester, Paul Shambroom, Todd Siler, Eve Sussman, Mark Tribe, Mark Wagner, Carrie Mae Weems, Hannah Wilke.
The Feldman Gallery will present Resurrectine, a large-scale group show of more than fifty artists. The selection of artworks embraces the notion of transformation – the creative act of taking form, appearance, nature, character, or meaning, and making it new again. The title of the exhibition is based on the name of the fictive elixir which restores life as imagined by Raymond Roussel in his 1914 novel Locus Solus and “rebottled” by the conceptual artist Terry Fox in 2007.
Resurrectine, the exhibition, is a guide to the always changing possibilities of language, signifying a rebirth and an expansion or narrowing of language, which in turn is linked to the visions of artists. In the spirit of the fanciful conceit of Roussel’s potion, the theme introduces new ways of thinking and the power of creativity.
As a form of time travel, the artworks incorporate contradictions: a low budget home video reenacts Moby Dick; a Medieval painting of the Resurrection becomes a video game; a flash animation combines the looting of Iraq’s antiquities with 3-Card Monte; trees inhabit libraries and museums exhibit human taxidermies; a mirror transforms
the viewer’s reflection into that of Andy Warhol; doilies are stained with menstrual blood and Audubon prints are productively vandalized. We are also engaged by the invention of nursing, fallen angels, a parent’s footsteps to a concentration camp, remembered spaces, the story of the Black film industry, escapes from death, Old Masters reborn, a Cheshire Cat, apocalypse management, a living electronic painting, reenacted famous protest
speeches, and dozens of other resurrectines.
Richard Heller Gallery is pleased to present Thin Skinned, Andrew Sendor’s first exhibition with the
gallery, and his solo debut on the west coast of the United States. For the past six years, Sendor has been
deeply involved with a painting practice that investigates both the potential and the limitations of
representational painting. While Sendor’s paintings have evolved both materially and conceptually, the
motivation behind the work has always been characterized by a profound fascination in how ideas and
images are mediated through the language of painting.
This recent body of work, which Sendor created in Madrid, Spain, where he currently lives, is a
progression of uncanny hypothetical situations presented in the form of intimately sized, highly skilled oil
paintings. Sendor intelligently navigates his way through a web of delicate topics, such as the tenuous
boundaries between the sacred and the profane, between religious faith and philosophical inquiry, all
within a pictorial space that is clearly his own.
Thin Skinned features paintings that portray videos, photographs, paintings, sculptures, and, absurdly,
human-beings-as-art within the walls of museum and gallery spaces. This unexpected contextualization of
the figure, mysteriously frozen in a taxidermy form on pedestals, at once adopts a monumental status and
undermines accepted notions about what Art is, or what Art can be. While the depicted characters are
ostensibly functioning as the subjects, it is the setting in which they are found, in and amongst
appropriated artworks, that generates the questions embedded in Sendor’s ambitious painting project.
Exploring the role of the painter becomes a multifaceted endeavor for Sendor as he straddles the
vernaculars of historical genres and contemporaneous methodologies in painting, from nineteenth-century
portraiture to photorealism. As Jasper Sharp eloquently states, “Sendor does not set out with the express
intent to revise painting. Rather, with an educated consciousness of the work of his predecessors and the
debates that have swirled around contemporary art in recent years, he formulates his own visual language
and with it a distinctly personal sensibility.”
Hudson Valley Center for Contemporary Art
Artists included in the exhibition:
Justin Allen, Kadar Brock, Michael Brown, Aaron Johnson,
Amy Myers, Mike Nemire, John Newsom, Don Porcella, Jason Repolle,
Andrew Sendor, Adam Stennett, Helen Verhoeven and Bryan Zanisnik
To The Road Less Travelled – Wishing You Love and Happiness and Curiosity Forever
A group exhibition featuring: HuskMitNavn (DK), Søren Behncke (DK), Pica Pica (BE), Jesper Dalgaard (DK)Andrew Sendor (US), Benji Whalen (US), Michael Dumontier (CAN), Asger Carlsen (DK), Shane Bradford (UK), Mike Mills (US), Troels Carlsen (DK), Jes Brinch (DK), DearRainDrop (US), Graham Hudson (UK), Misha Hollenbach (AUS), Neil Farber (US), Michael Rytz (DK), Mads Lynnerup (DK), Lora Fosberg (US), Rory McBeth (UK), Clayton Brothers (US), Michael Swaney (CAN), Brian Montuori (US), Johannes Hinriksson (IS), Michelle Blade (US) and Jakob Boeskov (DK/IS).
Opening day: Friday January 15. 2010. From 17.00 – 22.00
Exhibition period: January 16. – February 13. 2010.
The title of the exhibition is lifted from a hand written inscription in an edition of Jack Kerouac’s ‘On The Road’. The full inscription reads like this:
“Laurabelle and Nicolas – to the road less travelled – wishing you love and happiness and curiosity forever- with love, Annie xx”
Jesper Elg: “I actually never saw the inscription myself. It is sealed in paint forever in one of Shane Bradford’s dipped book works. I guess this fact made me even more intrigued and curious about the work. And that feeling is exactly what this exhibition celebrates; curiosity forever. Curiosity as a question mark when too many people agree or disagree. Curiosity as in turning your GPS off and letting gut and chance roam. Curiosity as to what art is or could be. Curiosity as to exploring limits and boundaries. Curiosity as in transgressing limits and boundaries. Curiosity as in meeting the world again. Curiosity as to what will happen when I stick my finger in there. Curiosity as to what are being built in there. All the questions you are not supposed to ask, but hopefully do.”
This makes perfect sense. Curiosity is a key component of life in all its grit and glory. Closely related to courage, stupidity, lust and intelligence it is dangerous and vital, wise and senseless. It can push you into darkness and turn on the light. It can send you down dodgy paths and make you take wrong turns. But it also paves the way for triumph. It can create and destroy. It makes heroes and losers. And can lead to both magnificent mistakes and great thoughts. It made Odysseus stray, but perhaps it also led him back on track. Scientists, artists and prying people in general keep venturing into the unknown instead of resting on given truths that promises them a comfortable life in this life and the supposed next. Paradise was lost. But Freedom was given.
The exhibition features works from 25 very diverse international artists working in different media spanning from painting, mixed media and drawing over sculpture to video. Some are old friends of V1: the prolific Rory MacBeth, the fluorescent rebels Dearraindrop, the influential Clayton Brothers, the Icelandic Brahman Johannes Hinriksson, the devilishly detailed Troels Carlsen and the artistic sniper Jakob Boeskov. And others are new friends: the deliciously quirky Michael Dumontier, the visual wordsmith Lora Fosberg and Mike Mills whose monocle we love to see the world through. Some have kept us curious for years; others have just caught our attention. But all works are projections of our wish to know, see and hear more – and our hope to feel lost and found at the same time.
We can’t think of a more appropriate way of opening the doors to a new decade, than by celebrating curiosity in contemporary art. Jump into the reverse boat and dance around the colorful totems. Marvel at constructions we will never be able to find harmony in and sympathize with the dog whose position some of us envy and other of us fear. Leave the brush hanging and let the fat man find his own – and others – death. Bike next to the exotic beauty in familiar settings and read all the lost signals.
Cool works & cool artist:::…